Today, barbaric horde Barbaric Horde stream the entirety of their highly anticipated second strike, Tainted Impurity. Set for international release on August 4th via War Art Productions on cassette tape, hear Barbaric Horde’s Tainted Impurity in its entirety here.
Early last year, this Portuguese duo assaulted the underground with its debut demo, Gasmask Perpetrators. Released by War Arts and aptly fucking titled, Gasmask Perpetrators incited rapturous obeisance among diehards who worship at the altar of Black Witchery, Profanatica, and Archgoat. And now, yet another aptly-fucking-titled tape arrives in the form of Tainted Impurity. Taking the warring bestiality of its predecessor one step further, here Barbaric Horde are both more unhinged and more martial, unleashing wave upon wave of unfettered filth with total arrogance, exercising mastery over their maelstrom whilst clawing deep within the caverns of chaos. It’s the sound of bestial and (yes) barbaric black metal torn asunder and rebuilt upon a throne of purity – or indeed, Tainted Impurity. Submit to Barbaric Horde’s war-mongering violence or forever cower in fear…
Cover and tracklisting are as follows:
Tracklisting for Barbaric Horde’s Tainted Impurity
1. Bestial Offensor
2. Death the First Option
3. Impulse to Attack
4. SDD (Sulfuric Death Demons)
5. Morbid Rape
Unholy Prophecies sets October 28th as the international release date for Sacroscum’s highly anticipated debut album, Drugs & Death. Ever aptly titled, Drugs & Death is a scourge upon one’s sanity and sanctity, a black-hole blight that swallows you whole. Sacroscum aren’t fucking around.
Sacroscum was formed in 2015 by J. and SS. After playing music together for a long time and trying to create something unique, the duo mixed influences of Darkthrone, early Celtic Frost, Discharge, Skitsystem, Inquisition, and everything they thought would be fitting. Combined with utterly hateful lyrics and a healthy disdain for most of you, Sacroscum was born.
Thus armed, Sacroscum soon transcended musical means and become a philosophy for the two, which can be broken down thusly:
SACROSCUM can be music.
SACROSCUM can be a mirror.
SACROSCUM can be a judge.
SACROSCUM can be a knife.
SACROSCUM can be whatever you want.
But, ultimately, SACROSCUM is whatever the fuck we want it to be.
After some recording sessions in their rehearsal room, they created eight pieces of musick which were then released under the title of Stillbirth, courtesy of Unholy Prophecies in 2016, on cassette tape. Everything “do it yourself” from beginning to end, Stillbirth came from raw, primal aggression, setting down Sacroscum’s foundation for death, dedication, disgust, and what lies beyond all these. But now, with the imminent release of their debut album, Drugs & Death, Sacroscum are primed for their most bountiful ejaculation of filth and hatred – the fullness of their cumming, as it were. Recorded at the band’s rehearsal studio and mixed and mastered by Fabi Krapp at Ruins Rust Studios in southern Germany, Drugs & Death is yet another staunchly DIY affair, but this time, the band have dialed in their most destructive material to date, simply taking what once was, adding some unexpected elements and making it what once will always be: truly, DRUGS & DEATH.
Nine anti-anthems, 41 minutes of foulness, Sacroscum never stop the madness, and heartily encourage you to finally drink yourself to death but with a smile on your face. “Do it…”
Check out “Waste, Horror & Degradation,” the first dosage of Drugs & Death
Cover and tracklisting are as follows:
Tracklisting for Sacroscum’s Drugs & Death
1. Initium
2. Drugs & Death
3. Autoerotic Thanatophilia
4. Gutter.Moloch.God
5. Vermin
6. Waste, Horror & Degradation
7. Skin Canvas
8. Downwards Spiral
9. DCLXVI
MORE INFO: www.facebook.com/sacroscum666
Invictus Productions sets September 29th as the international release date for Antiversum’s highly anticipated debut album, Cosmos Comendti. Formed in 2010 by dedicated and experienced musicians in the Swiss metal scene, Antiversum is a nihilistic entity which creates a disturbing and storming amalgamation of black, doom, and death metal, manifesting the end of the universe and the dawn of nothingness in audial waves. They began that journey into the void in the spring of 2015, when Invictus released the band’s debut demo, Total Vacuum, to international acclaim. As a title, Total Vacuum indeed served as the foundation on which Antiversum would create their idiosyncratic vortex of violence.
However, as mighty as Total Vacuum was (and still is), now arrives Cosmos Comendti to give a more vast ‘n’ virulent vision of that vortex. While the four tracks comprising Total Vacuum were towering in their own right, they are dwarfed by the four tracks that comprise the 38-minute Cosmos Comendti. Here, Antiversum stretch the spaces in between the void further, lurking within with a menace that’s truly unsettling. As such, compositions seemingly surge and then disintegrate at will – and yet, the quintet wield an iron will toward every nuance, every texture, every single detail. It’s a swarming swell of sound, one that could be deemed “cavernous” or “sepulchral” and other buzzwords in popular underground parlance, but the differentiating factor to Antiversum in general and Cosmos Comendti in particular is that there’s a clearly articulated, deathly focused finesse to everything that happens; nothing is left to chance nor masked in absurd levels of reverb. Further, this swell cannot be conveniently slotted as strictly “death metal” or “black metal” or “doom”: it simply IS.
Hark! For the cosmos-devouring debut album of Antiversum is at hand, and this anti-world is hereby titled Cosmos Comendti! Hear its first emanation from the void
Cover and tracklisting are as follows:
Tracklisting for Antiversum’s Cosmos Comedenti
1. Antinova
2. Creatio e Chao orta est
3. Cosmos Comedenti
4. Nihil ad Probandum
Texan black/death cult Nexul stream a new song Hexecration from their massively anticipated debut album, Paradigm of Chaos. Set for international release on July 28th via Hells Headbangers check it here:
Nexul are a part of the Ordo Satanae Imperium collective – which includes fellow Hells Headbangers cults Nyogthaeblisz and Hellvetron, with whom Nexul share members – and one of the most exciting developments in American black/death metal in recent years. Together, this trio of bands explore death’s deepest mysteries and provide sonic/lyrical keys to the Beyond. Of them, Nexul are the newest, making their recorded debut with the Nexulzifer demo in 2013, which Hells Headbangers released on both 7″ vinyl and cassette tape. Across three songs and a dozen minutes, Nexulzifer portrayed a potent vision of Luciferian death metal magick – heaving, hideous, and molten to the touch – and formed the foundation on which Nexul built their next illuminating vision.
And now, that illumination arrives with Paradigm of Chaos. Compared to the more basic, bestial-intensive Nexulzifer, the Nexul of Paradigm of Chaos is one that walks the threshold between all-consuming chaos and sheer insanity, between ravaging death magick and the ethereal vibrations both above and especially below: both heeding the boundless powers which drive them while disregarding/disrespecting any notions of “tradition.” As the band explains, “This Paradigm of Chaos was conceived over three years, during which time we plunged into entropy and strife, either through our own making or tribulation from external forces. What has emerged is a corporeal/ethereal mirror, a destructive pattern woven of audial lunacy and spiritual fervour towards the Great Dragon that is called LEVIATHAN.”
In a relatively short amount of time, Nexul have become masters of wielding sound as a veritable weapon; here, on Paradigm of Chaos, it is literally overwhelming and tangibly MASSIVE to behold. But within that ghastly, gibbering maw of oblivion lays nuance and dynamics: this is more than just senseless noise, and certainly more than rote “brutality” for its own sake. It is verily the death rattle of the soul, and those reverberations ring infinitely – and forebodingly – across a canvas which is even more heaving, even more hideous, and untouchably molten. There are layers upon layers upon layers to this Paradigm of Chaos, and the corridors down which one can wander are seemingly infinite. Rarely has black/death metal been this unremittingly violent whilst keenly subtle.
Tracklisting for Nexul’s Paradigm of Chaos
1. Accursed Abyss
2. Hexecration
3. Wrathful Chaos
4. Dark God of Paradox and Eternal
5. Leviathan Unbound
6. Chaosipher Tower
7. Serpent of Acosmic Darkness
8. Paradigm of Chaos
9. Bringer of Pandimentional Disrupt
10. Lord of the Bottomless Seas
11. Drowning Sephiroth
12. Leviathan outro
“Here set we up a curse-pole, and this curse we turn onto יהוה and שְׁכִינָה. This curse we turn unto all slaves of the flesh that they will wither and dissipate as cancer eats the body until the Crown is dissolved and Naught is left save for vultures to rend.” – Ν.Brairava, under the influence of madness for NEXUL
Today, Iron Bonehead Productions sets September 29th as the international release date for Worm’s debut album, Evocation of the Black Marsh, on vinyl LP and cassette tape formats.
Hailing from the swampy recesses of Florida, the American Worm is the work of one mysterious Fantomslaughter. To date, he’s done two rare demos, The Deep Dark Earth Underlines All (2014) and Nights in Hell (2016), but now as a duo alongside one Equimanthorn, Worm present the fullest distillation of their foul ‘n’ fetid aesthetic in Evocation of the Black Marsh.
Ever aptly titled, Evocation of the Black Marsh comprises eight hymns to the spiritual swamp lurking in every listener. With titles like “Evil in the Mire,” “Altar of Black Sludge,” and especially “The Slime Weeps” and “Swamp Ghoul,” it would be fair to assume that Worm would worship at the altar of Varathron’s classic His Majesty at the Swamp. However, while faint traces of those Greek gods can be detected, across the 42-minute LP is a clanging, blown-out appropriation of early Goatlord and Mortuary Drape, but strewn with a screws-loose personality that hails unorthodoxy endlessly. It’s a harsh and unsettling listener, but done with the authenticity and purity of black metal’s earliest, pre-tabloid days – and where else would something harsh and unsettling end but at the swamp? Submerge into the slime and prepare for a true Evocation of the Black Marsh.
Cover and tracklisting are as follows:
Tracklisting for Worm (USA)’s Evocation of the Black Marsh
1. Altar Of Black Sludge
2. Winged Beast Of The Phantom Crypt
3. Gravemouth
4. Evil In The Mire
5. Evocation Of The Black Marsh
6. Swamp Ghoul
7. Rotting Semblance
8. The Slime Weeps
In anticipation of their upcoming first North American tour this September, on September 8th, Hells Headbangers is proud to present a special compilation CD from Slaughtbbath entitled Contempt, War and Damnation. One of the most elite hordes in the shit-hot Chilean black/death scene, for a decade and a half now, Slaughtbbath have prolifically pursued a fierce ‘n’ fiery vision of total black/death METAL. With a rich yet uniformly exemplary discography, this power-trio have laid waste to the underground across a myriad demos, splits, EPs, and 2013’s now-classic debut album, Hail to Fire.
Now aligned with Hells Headbangers since last year’s red-eyed ‘n’ raging split 7″ with Grave Desecrator, Slaughtbbath hereby present an exclusive collection of tracks from their post-Hail to Fire period. Aptly titled Contempt, War and Damnation, this seven-track CD compiles tracks from splits with Grave Desecrator, Ill Omen, Kill, and fellow Hells Headbangers cult Hades Archer as well as a rare compilation track and a brand-new song specifically recorded for this release. As ever going from strength to strength, Contempt, War and Damnation displays a Slaughtbbath at the peak of their powers, pulsing with both bestiality and burliness alike, and yet exhibiting a nuanced songwriting nous that is second to none.
As North America quivers before Slaughtbbath’s impending assault on its shores (dates after the jump), prepare for Contempt, War and Damnation!
Cover and tracklisting are as follows:
Tracklisting for Slaughtbbath’s Contempt, War and Damnation
1. Astral Rape
2. Nefast Fireground
3. Tyranny From Sodom
4. Inverted Hierophany
5. Bestial Descension
6. The Sands of Despair
7. Black Revelation of Death
Confirmed dates and venues for Slaughtbbath’s forthcoming first North American tour, dubbed Barbaric Cruelty Over North America, as well as poster art are as follows:
September 8-9 – Wings of Metal Festival @ Katacombes
September 12 – Worcester, MA @ Ralph’s Rock Diner
September 13 – Brooklyn, NY @ Metal Kingdom
September 14 – Philadelphia, PA @ The Fire
September 15 – Cleveland, OH @ Now That’s Class
September 16 – Chicago, IL @ Reggies Music Joint
September 17 – Hamtramck, MI @ New Dodge Lounge
September 20 – Buffalo, NY @ Rockin Buffalo Saloon
September 21 – Toronto, ON @ Coalition
September 22 – Sherbrooke, QC @ Le Murdoch
September 23 – Considered Dead Festival, QC @ Multi Meduse
Today, Hells Headbangers sets October 13th as the international release date for Hades Archer’s highly anticipated second album, Temple of the Impure, on CD, vinyl LP, and cassette tape formats.
Hailing from Chile, Hades Archer are staunchly and proudly a duo: foul and filthy, yet fuller than most bands twice their membership. Across their prolific canon, Hades Archer have come to define – and set the gold standard for – modern black/death metal hailing from South America. Rabid fans for many years, Hells Headbangers couldn’t be more pleased to work with the diabolical duo for Temple of the Impure and other upcoming assaults.
Hades Archer was formed in 2006 in Santiago, Chile by N-III on guitars and voice and Infernal Desolator on drums. The band launched their first demo-rehearsals through Chilean label Kuravilu, unleashing their glorious influences such as Venom, Bathory, Hellhammer, Sarcófago, Sextrash, Mayhem, Impaled Nazarene, Bestial Warlust, Black Witchery, Inquisition, and more. Later in 2007, Hateaxes Command came in on drums. With this new lineup, the duo recorded the Penis Metal and Gloria Rex Infernvs EPs – released in 2008 and 2010, respectively – and their debut album, 2011’s For The Diabolical Ages. This cult era is considered by Hades Archer where the band’s history truly began.
In 2012, Hateaxes Command departed and was replaced by Skullcrusher Hammers, due to N-III’s move to Valdivia years before. With this lineup, Hades Archer launched a number of live rituals and recorded the mini-album The Curse Over Mankind. Two years later came the Circus of Abominations split mini-album with new labelmates Slaughtbbath. Once more due to Skullcrusher Hammers moving to another city and foregoing Hades Archer embarking upon future tours, the year 2015 saw the return of Hateaxes Command to record the EP Unus Cantus Bestiae, which was later reissued as a split with Japan’s legendary Sabbat.
But, at long last, now arrives Temple of the Impure: the grand culmination of Hades Archer’s hard graft in the underground the past decade-plus, and a grimy new jewel in the reigning crown of Chilean black/death. The band’s first new recordings in two years, Temple of the Impure proves that the silence was indeed golden, for LP#2 is a fucking firestorm of filth and foulness, a forever-flowing fount of unnervingly hypnotic ultraviolence. Both defining and deviating from the classic Chilean archetype, Temple of the Impure sees Hades Archer simultaneously surpassing the boundaries of chaotic overload and somehow delivering their most diseased and dirt-encrusted expression by paradoxically locating their cleanest and most professional recording to date. A dicey move in most bands’ hands, but here, the payoff speaks for itself: Temple of the Impure is precisely THAT, and it can be heard in gleamingly 3D tones, thereby maximizing the palpably physical possession it invokes within the listener. Total and utter diabolism across a dozen tracks in 34 minutes, Temple of the Impure kicks in immediately and thoroughly assaults the senses for its entire duration, along the way finessing forth deft ‘n’ dynamic downshifts and martial headbanging moments.
Aptly titled as anything currently out there, Temple of the Impure is the foundation on which Hades Archer hereby assert their dominance across the nowadays underground metal scene. Behold mastery, and bow down. The first example of that impure mastery can be heard with the previously-revealed track “Chaos Teratosis Chimeras”
Cover and tracklisting are as follows:
Tracklisting for Hades Archer’s Temple of the Impure
1. Intro (Ikkibu Ardu)
2. Chaos Teratosis Chimeras
3. The Gods Sold This World For Destruction
4. Circus Of Abominations
5. Sex Sex Sex Perversions
6. Great Moon Tide
7. Hecate Undressed
8. Unus Cantus Bestiae
9. Temple Of The Impure
10. Apollyon’s Brightness
11. The World Inheritance
12. Outro (Homodeus Abortunction)
Iron Bonehead Productions sets September 29th as the international release date for Runespell’s highly anticipated debut album, Unhallowed Blood Oath, on CD and vinyl LP formats.
Hailing from the shit-hot true Australian black metal scene, Runespell is the work of one Nightwolf, considered by those in the know to be arguably the busiest man in OZBM, maintaining as he does the equally prolific Eternum and Blood Stronghold. While bearing aesthetic similarities to those two bands – this is the purest, most mystical black metal after all – Runespell is a majestic rumination on the mysteries of war and bloodshed, vengeance and valor, memory and destiny. Nightwolf handily accomplished that earlier this year with the debut demo Aeons of Ancient Blood, but now, once again in bloodpact with Iron Bonehead, Runespell rises for its grandest strike in Unhallowed Blood Oath.
Maintaining the same exemplary standards in songwriting and execution, here on Unhallowed Blood Oath, the passion and prowess by which Nightwolf guides Runespell have somehow multiplied tenfold. This is black metal deeply steeped in early ’90s classicism, be it from Scandinavia or France or particularly Poland – again, no sea change there – but to take source material, especially the sort that’s been so widely replicated year after year, and both handily challenge those classics AND resound like an era-relevant relic is no mean feat. In fact, it requires dedication and sacrifice – spiritually, above all, as well as physically – and those are in no short supply across Unhallowed Blood Oath; not for nothing is the album titled that. The seven tracks comprising the record feel strangely far more epic than the compact running-time of 37 minutes suggest, and yet within that mesmerizing maelstrom of alternately grim/gorgeous frequencies lies profound truths, flickering refractions of times distant and as yet lived, of black metal wielded as weapon, totem, and portal simultaneously.
Partake in Runespell’s Unhallowed Blood Oath or be banished: there is only one choice. Begin the journey to damnation/redemption with the opening track “Oblivion Winds”
Cover and tracklisting are as follows:
Tracklisting for Runespell’s Unhallowed Blood Oath
1. Oblivion Winds
2. Bloodlust & Vengeance
3. As Old Gates Unfurl…
4. Heaven In Blood
5. White Death’s Wings
6. All Thrones Perish
7. And Wolves Guide Me Home
Today, Seance Records sets September 15th as the international release date for Nocturnes Mist’s highly anticipated third album, Diabolical Baptism. Following quickly on the heels of last year’s scorching second album, March to Perdition, Diabolical Baptism completes an unholy trinity of albums that forever establishes Nocturnes Mist as one of the darkest and most uncompromising antipodean forces. More savage, more immediate, and more engaging, the band goes from strength to strength here, heralding a new era for their characteristically Aussie black metal.
Nocturnes Mist’s Diabolical Baptism is a work of traditional black metal inspired by the occult and Satan. After watching The Omen trilogy, the band was inspired to write a song based upon the iconic film score, “Ave Satani,” and in doing so, this song influenced the tone of the album. Diabolical Baptism is a work inspired by high Satanism, both its medieval origins as well as the presence of Satan and the occult in the contemporary world: from The Omen trilogy to Ken Russel’s classic The Devils (from which a sample is used on the song “Barbs of Sadism) to the illustrations from the works of Lord of De Lancre, the infamous French witch-finder and demonologist of the 17th Century. His image of the Black Mass, the witches Sabbath in addition to horror, both fictional demonic terror and the real life terrors of the medieval age and inquisition, coupled with a fascination for clandestine ceremonies of the left-hand path – all come together with each song representing another page of Nocturnes Mist’s musical grimoire, a tale written in homage to Satan and the vivid imagery that he has inspired throughout the ages.
The lavish artwork throughout Diabolical Baptism, by the hand of modern master Jenglot Hitam, is a re-imagining of Lord of De Lancre’s Black Mass and Witches Sabbath – and here, from Satanic inspiration emerges a new level of primal energy and brutality for Nocturnes Mist. Harsh compositions and raw fury have engulfed symphonic elements, with keyboards only momentarily emerging to highlight mood and atmosphere. The transition of style was not intentional; rather, it’s a subconscious evolution reflecting the band’s collective energy whilst writing the album. As a result, Diabolical Baptism is a natural manifestation of evil and hatred, a return to the raw, unadulterated energy of early ’90s black metal and a vehement outpouring sparked by frustration with the continued dilution of the genre. Diabolical Baptism is a rekindling of Nocturnes Mist’s devotion to black metal, its roots, the feeling and conviction stemming back to the origins of the band, their influences, and the energy that originally galvanized them in the ’90s.
Nocturnes Mist was formed in Adelaide, South Australia in 1997 and have since remained veiled in mystery and fog. The band was ignited amidst a strong movement of bands from South Australia such as Stargazer, Cauldron Black Ram, Mournful Congregation, Darklord, and Beyond Mortal Dreams among others. However, Nocturnes Mist remained undeservedly underrated and overlooked, as black metal had yet to reach the peak of its popularity in Australia and Australian bands were hindered by isolation, great distance between states, and poor distribution in the days before the internet was widely available in households.
Embodying the spirit of ’90’s black metal, Nocturnes Mist’s music unites ferocity with darkness, cold vengeance with symphonic poetry, and chilling atmospheres with sheer heaviness. Truly borne from the ’90s and the influence of first- and second-wave black metal, early on, Nocturnes Mist created symphonic black metal in the style of early Emperor, Satyricon, Abigor, and Nazxul. Denying the lightweight flourishes of what symphonic black metal evolved into by the end of the ’90s, Nocturnes Mist remained firmly rooted in the traditional style and ideals of black metal, incorporating rawness, heaviness, dark atmosphere, and a true feeling of aggression characterized within the Australian scene.
The Southern Storms demo EP was released in 1998 by the band and limited in availability, only being traded via mail and sold at the few shows which the band played between 1999-2000. These shows were some of the first black metal shows in South Australia and are now legendary landmarks in the evolution of OZBM. Armed with a full lineup and instilled with the aesthetic ideals of traditional black metal, these shows were impressive rituals of dark, intense heaviness as the band performed in full corpsepaint, gauntlets, and created a lavish scene of gothic candelabras and candlelit atmosphere. Two self-titled demos followed in 2000 and 2004, but these were not widely circulated, and the songs were later reworked & re-recorded in 2009 to become part of what is now the As Flames Burn album, which remained unreleased until 2013.
Nocturnes Mist predated most of the bands that form the current Australian black metal scene, but in a case of being ahead of their time, they slowly slipped into obscurity. Seance Records reignited the flame in 2013 with the first official release of As Flames Burn. The songs were remixed and mastered yet stylistically represent the early era of this band and their body of work to date. The CD also included the Southern Storms tracks as a bonus. Forging ahead, the band soon recorded their second full-length, March to Perdition, released in 2016 by Seance Records. The ten new songs comprising the album were characteristic of the band’s style: unpretentious and atmospheric, yet instilled with a raw, savage element to surpass what has come before. Each song was crafted with skillful writing and musicianship while not losing the energy and spontaneity that fortified the band’s lofty position as forerunners of OZBM
Tracklisting for Nocturnes Mist’s Diabolical Baptism
1. Hammers of Hatered
2. Barbs of Sadism
3. Tears of Misery
4. Temple of Malevolence
5. Pale Face Cold Heart
6. Obscure Reaches
7. Upon The Beast Rode a Whore
8. Shadow of the Flame
9. Domina Noctus
10. Ave Satani
Ukrainian black metal veterans DRUDKH and Swiss underground one-man act PAYSAGE D’HIVER (out on Prophecy) will release their limited 12″ split-EP ‘Somewhere Sadness Wanders / Schnee (IV)’ worldwide on August 25th.
DRUDKH are now premiering their new EP-track, “The Night Walks Towards Her Throne”, which features clean vocals by WINTERFYLLETH frontman Chris Naughton. The lyrics were penned by Ukrainian poet Maik Yohansen (1895-1937), who was murdered by a Soviet firing squad.
The artwork of ‘Somewhere Sadness Wanders / Schnee (IV)’ can be viewed together with the track-list of the split-EP below.
Tracklist
1. DRUDKH – All Shades Of Silence (12:54)
2. DRUDKH – The Night Walks Towards Her Throne (8:08)
3. PAYSAGE D’HIVER – Schnee IV (19:51)
DRUDKH release their next split-EP. The Ukrainian underground black metal veterans collaborate with the Swiss atmospheric black metal project PAYSAGE D’HIVER this time.
Mastermind Roman Sayenko continues to draw his lyrical inspiration from Ukrainian poets. “All Shades Of Silence” derives from the writings of Yevhen Pluzhnyk (1898-1936), who died in a Stalinist gulag. His contemporary Maik Yohansen (1895-1937), who penned the words in “The Night Walks Towards Her Throne” shared a similar fate by being murdered with the guns of a Soviet firing squad.
Both tracks clearly show Roman Sayenko’s musical handwriting by perfectly blending raw harshness, epic melodies and a touch of folklore into black metal masterpieces.
With their latest full-length ‘A Furrow Cut Short’ (2015), DRUDKH continued on the dark and bleak course charted with previous release ‘Eternal Turn of the Wheel’ (2012). In an ever-evolving metamorphosis, DRUDKH have regularly returned to their early legacy from the Nordic Black Metal inspired debut ‘Forgotten Legends’ (2003) as well as the cinematic soundscapes of ‘Autumn Aurora’ (2004) and the traditional influences of ‘The Swan Road’ (2005). On ‘Blood in Our Wells’ (2006) progressive elements surfaced, while after the instrumental and partly acoustic ‘Songs of Grief and Solitude’ (2006) a sharp contrast was created by the harshly black ‘Estrangement’ (2007). ‘Microcosmos’ (2009) seemed to tie up the different strands of DRUDKH’s previous releases, before embarking on a quest to more outlying progressive realms with ‘Handful of Stars’ (2010), which led Roman Sayenko to found OLD SILVER KEY, joined by ALCEST vocalist Neige. The band’s mastermind has often penned his own lyrics, but also continuously rediscovered forgotten poets of his home country. With similar intentions but musically closer to their original band, members of DRUDKH including Roman Sayenko released an album entitled, ‘The Great Cold Steppe’ (March, 2017) using the name WINDSWEPT.
DRUDKH insist to be understood through their music alone and do not provide any kind of promotion. DRUDKH do therefore not release any pictures, nor give interviews, or perform live.
